UEBEL, AUGUST MORITZ
Born at Erlbach, 1860. Worked at Markneukirchen. Died 1914. Skilfully treated modelling and varnishing.

UEBEL, G. ERHARD
Born in Saxony, 1903. Worked at Amsterdam from 1930. Excellent models - Strad, Guarneri, Stainer and individualistic. Yellow or reddish varnish.

UEBEL, GUSTAVE
Born at Erlbach, 1868. Worked at Mittenwald. Died 1949. Nice workmanship of old Cremona and Tyrolean models.

UEBEL, JOHANN ANDREAS
Worked at Klingenthal, 1750.

UEBEL, JOHANN CHRISTIAN
Born 1710. Worked at Klingenthal. Died 1792. Broad and flat model, rather solidly built. Even grain spruce for top, generally one-piece back of pretty small figure maple. Warm looking brown varnish. Tonal quality often “woolly”, sometimes sweet and easily responsive, but never fully round.
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Johann Christian Uebel
Violinmacher in Klingthal, 1759
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(Germnan lettering)
Some instruments dated up to the year 1814.

UGAR, CRESCENZIO
Worked at Rome, 1788-1790. Followed the characteristics of the German school, created by Tecchler. Not particularly desirable instruments. Brown varnish which fails to satisfy pure taste. Also made violas with the same steady adherence to Tecchler. Volute of scroll not engaging to the eye. Tonal quality rather thick and tight. £75, 1960.
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Crescentius Ugar
fecit Romae anno
1788
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UHLSCHMIDT, ANTON
Born at Schönbach (Bohemia), 1883. Son of Balthasar. Attained a fine reputation by 1920. Specialist in orchestral and student’s violins. Best grades signalised by beautiful varnish. Eschewed the cheaper type of trade instruments which often have fantastic absurdities for heads. Produced fine imitations of all Italian models.

UHLSCHMIDT, FRANZ
Brother of Anton. Born at Schönbach, 1888. Worked at Zurich, 1920. Old Italian models, fine contours, superb workmanship, splendid quality varnish of own formula.
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Franz Uhlschmid.
Autorisierter Geigenbauer
Fecit in Zurich anno 1921
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Notice the omission of “t” at the end of name.

UHRMACHER, PETER
Worked at Pfaffendorf, 1800-1830. Happy outline with moderately high arching. Workmanship and tone felicitously qualify for a good rank in the Mittenwald school.

ULLMANN, CH. AND J.
Factory established at Mirecourt, 1881. Wholesale warehouse at Paris, 1908-1928. Manufacturers of trade violins (guaranteed hand-made) and bows. Very good merchandise, not maimed by chemicals to get unnatural maturity.

ULLMANN, GEORGES
Born at Bad-Elster (Saxony), 1879. Studied at Markneukirchen. Worked for Dvorak at Prague, and for Degani at Venice. Established at Milan, 1901. Employed by the principal Conservatorios in Italy. Lived at Turin, 1919. Settled at Zurich, 1921. Died 1946. Attractive modelling on Stradivarian principles. None of the minute details accentuated beyond artistic boundaries, and no possible disappointment as the bow travels over the strings. Golden amber and red varnishes applied without the slighest sign of anything ill considered.
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Georgius Ullmannius
fecit Turicum 1920
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(with signature diagonally on left and right)

ULRICH, DIEDERICH
Born 1740. Established at Hamburg, 1771. Brescian type of work particularly in the outline and sound-holes. Some have nicely carved lion heads, others without purfling. Dull and somnolent yellow varnish, but instruments worth the stimulus of curiosity and interest.

ULRICH, JOHANN
Worked at Mittenwald, 1765. Unusually good varnish for a Bavarian.

UNBEHAVEN, H.
Worked at Hall, 1670-1690. Also at Erfurt (Saxony). Amatese modelling. Also decorative viols recalling the work of Tielke.

UNGARINI, ANTONIO
Worked at Fabriano (Italy), 1760-1765. Modelling on Stradivarian principles. Quite third-rate conceptions. Fairly sweet tone but decidedly languid when subjected to quick, forcible bowing.
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Antonius Ungarini
in Fabriano An. 1745
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(large characters)

UNGARINI, RAYNALDO
Son of Antonio. Worked at Fabriano, 1800-1808. Instruments of modest pretentions. Outline, sound-holes and scroll sometimes marred by unnatural curvatures. Not much thought in the varnishing. Tone generally compressed, seemingly imprisoned.
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Raynaldus Ungarini, Fabrianensis
Antonii filius
De Stradivarii Schola perfecit
Anno 1806
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UNION ARTISTIQUE
Establishment at Geneva, 1900. Several skilful French and German makers employed. Nice instruments; old principles in new dresses.

UNSELD, GEORG
Worked at Ulm (Germany), 1609. Maker to the Stuttgart Court. Produced several elegant lutes.

UNVERDORBEN, MARX
Worked at Venice, 1400-1450. A German who settled in Italy. Dr. Schebek is accredited with discovering a finely embellished and beautifully finished lute which belonged to an Austrian Prince at Castle Eisenberg, Bohemia.
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Marx Unverdorben, à Venetia
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(large Gothic letters)
Dr. Schebek tried to claim that this or other Germans visiting Italy, originated violin-making before the Italians. Absurd and conceited assertions long since exploded.

URBAN, JOSEPH
Born at Cernuc (Bohemia), 1821. Pupil of Homolka. Worked in Prague. Went to New York, 1847, California, 1852, returned to Prague, 1863, and ultimately settled at San Francisco. Died 1893. Severely prosaic modelling, not even embellished with elegant niceties relating to the scroll and sound-holes. Very variable style and very occasionally a refined specimen is found in the States. Instruments seldom seen in Europe. Tonal quality of meagre and of unalleviated flatness.
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Joseph Urban
Violin and Guitar Maker
San Francisco. 1860
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URBICH
Amateur at Löbau (Saxony), 1865-1880. Ordinary type instruments.

URDAHL, O. N.
Born at Bergen (Norway), 1882. Pupil of Hansen. Resident at Minneapolis, 1928. Produced 75 violins up to year 1940. Stradivarian modelling, light transparent oil varnish, golden red and golden brown shades.

URQUHART, ALEXANDER
Born 1867. Amateur. Resident at Invergordon (Scotland). Sevelal violins (dated from 1900) of average workmanship but with a strong tonal sonority (much under estimated by countrymen). £70, 1960.

URQUHART, DONALD
Born at Balblair (near Invergordon), 1859. Self taught. Made fiddles in 15th year. Many years resident at Tain (Scotland). Created instruments only during leisure hours, and remained satisfied to completely finish about 20. Favoured the large pattern Stradivarius in outline and arching. Full margins and srtong edges. Perfectly graduated thicknesses and plentifully wooded. Inside polished to a remarkable degree. Sound-holes afford ambitious excursions into originality Splendidly graceful scroll, deep scooping of the volute, and consequent boldness of axis. Unusually wide-grain (but even) material for belly. Oil varnish of own preparation, three shades: dark yellow, light orange and deep orange red, each very lustrous, tough yet elastic. Takes a long time to dry, also requires great patience to arrive at a perfectly polished surface. Mellow and flute-like tonal quality without much power.
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Donald Urquhart
Tain. N.B. 1897
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(written)

URQUHART, THOMAS
Worked in London, 1648-1680. Usually regarded as a Scotsman though his instruments are all dated from London Bridge. Probably went from Scotland to London at the invitation of Charles II, who delighted in fostering art. Indulged in two very opposing models. First, small size, Stainer outline, high arching and corners not prominent. Second, larger size, resembling the bulgy grotesque style of Pamphilon. Narrow purfling placed close to the edge. Quaint but splendidly cut and harmoniously drawn sound-holes. Unusually graceful for that early period. Workmanship of every detail controlled by the canons of genuine artistry. Wood of the kind commonly imported from the Baltic. Scroll delicately carved, attractively posed and sometimes the distinctive personal touch of a triangular incision on the base. Magnificent oil varnish, equal to the Cremonese in transparency and flexibility, generally a rich golden brown with an undercoat of equally rich yellow thus affording the brown an effective paleness, also one inclining to a reddish colour. Beautiful silvery tone and surprisingly clear though small. £40, 1925. Back of good quality and medium flame, belly of fine grain pine. Violins and violas very rare. No ’cellos known. £65, 1960.

USUELLI, ERALDO
Born at Vanzaghello (Milan), 1879. Pupil of Erba. Established at Mariano Comense, 1913. First-class designs and workmanship. Oil varnish of coppery red or golden brown. Some specimens have decorative inlays on back and scroll. £90, 1960.
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Usuelli Eraldo
Mariano Comense
anno 1949
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UTILI
see NICOLA.